Carousel Comic Trend As Expression Means In Instagram Social Media Space

The design of social media content cannot be separated from the existence of trends and can be used as a forum for the owner's expression in responding to the existing social phenomena of society. The comic carousel trend in social media content is supported by the presence of features brought by social media that are used by content creators as a space to work through content pages that line up to several pages on their Instagram accounts. Comics are one of the media in conveying information through visual sequences. This media can become public attention as a form of visually sequential stories so that there are activities, images, and systematics that can explain a story in the form of a guide or visual structure. In the development of the industry, the existence of comics also adapts to new media for expression, in the form of comic content applications on Instagram Social Media that implements the Carousel feature. This is seen by researchers as a step used by comic makers in distributing their work, by following existing trends, in order to get the enthusiasm of the audience or readers through new media, namely digital media. This study uses a descriptive qualitative method, where the theory of layout & new media is used as literature as well as an analytical knife during the process of observation and research data collection. The urgency in this research lies in the use of carousel design content as a visual space in the work and the phenomenon of the existence of features on social media that continues to grow, along with smartphone users who continue to increase. The results of this study will later examine the comic carousel’s uniqueness in telling stories through Instagram Social Media Content, which can add knowledge about the application of new media in visual communication design studies

REDRAWING TIME: TEMPORALITY IN GERMAN-LANGUAGE GRAPHIC NARRATIVES

This dissertation investigates the form of time in German-language graphic narratives, exploring the role of layout, text/image, and the body in creating temporality. It argues that, what makes temporality in graphic narratives most powerful is sometimes overlooked in the search for a historical, generic, or formal center that typifies the medium. Instead, Redrawing Time places value on flexibility, exploring how a variety of temporalities that exist outside of or are interspersed throughout a primary narrative, expand and augment the temporal range and expressiveness of comics works. It approaches this question with a focus on formal features of graphic narratives that are used to establish temporality, showing how in many cases, German graphic narratives use these features to suspend, oppose, or augment progressive depictions of time. The first feature discussed is the use of paneling, the rectangular frames that divide the page and mark the passage of time. The second is the text-image relationship of graphic narrative, which can indicate sequence and duration through the use of dialog and narration. The third is the body, which often suggests movement, anticipation, and change. Redrawing Time shows how in a variety of settings, German graphic narratives leverage these features to provide a model for temporal reframing, offering alternative ways of connecting an outlook on time with values, beliefs, and avenues for action. In part, the dissertation addresses a critical neglect of German comics and graphic narratives rooted in canonical comics theory, which often focuses on strategies for developing clear, forward-moving narratives. Explanations of graphic narratives that are rooted in formal progression correspond to a historical account of the medium, which, analogous to film, is seen as a way of bringing movement to image that emerges in 19th and 20th centuries. In addition to expanding such formal and historical accounts to make space for a discussion of German works, Redrawing Time paves the way for a broader discussion of the resistance of graphic narratives to the cultures of teleological thinking and accelerated lifestyle from which they are often suggested to emerge. However, rather than tracing a reactive trend in German graphic narratives that attempts to reinstate earlier philosophical and academic expectations for visual art, Redrawing Time shows how German graphic narratives challenge temporal traditions, utilizing the mechanics of the medium produce new experiences of temporality that help readers expand the horizons of their aesthetic and political agency.Doctor of Philosoph

Mixed Reality Images: Trilogy of Synthetic Realities III

The interplay of physical reality and digital media technologies is getting enhanced by new interfaces. The age of hyper-reality turns into the age of hyper-aesthetics and immersive image technologies - like mixed reality - enable a completely novel form of interaction and user relation with the virtual image structures, the different screen technologies, and embedded physical artefacts for interaction. "Mixed Reality Images" contributes to the wide range of the hyper-aesthetic image discourse to connect the concept of mixed reality images with the approaches in modern media theory, philosophy, perceptual theory, aesthetics, computer graphics and art theory as well as the complex range of image science. This volume monitors and discusses the relation of images and technological evolution in the context of mixed reality within the perspective of an autonomous image science

Dream of a thousand heroes: the archetypal hero in contemporary mythology, with reference to The sandman by Neil Gaiman

Twentieth century American fiction assimilates archetypes of traditional mythologies, in particular the hero archetype, to create a contemporary mythology which relays social issues relevant to its age. This is first approached by creating a theoretical framework, which primarily consists of both Jungian theories of the collective unconscious and the model on which Joseph Campbell based his conception of the archetype in what is known as myth criticism. The theoretical framework also introduces and describes the graphic novel and its use of characterisation distinctive to post-modern fiction. The Sandman, which is the subject of this study, is then contextualised against the backdrop of the evolution of the American comic book, with its influence of folklore, mythology and visual presentation. Through an overview and analysis of The Sandman series as a whole, as well as a reading of its pivotal narrative, The Kindly Ones, this thesis explores the way in which The Sandman fulfils its purpose of integrating an archetypal hero into contemporary mythology. This is achieved by validating claims proposing the existence of a contemporary mythology through an analysis of Morpheus, The Sandman's protagonist and his unique heroic journey. The conclusion reached is that The Sandman indeed represents a contemporary mythology that contains a new form of social commentary, incorporating archetypes from traditional mythology and re-evaluating the role of the hero in this day and age.Afrikaans and Theory of LiteratureM. A. (Theory of Literature

American cinema after 9/11

The terrorist attacks in the United States of September 11, 2001, were unprecedented in the modern era, and they heralded a new era in politics as the Bush Administration pursued rigorous security policies at home and staged military operations in Afghanistan, and subsequently Iraq. Witness testimonies, and newspaper articles in the immediate aftermath of the attacks, revealed that many of those watching coverage of the attacks on television temporarily mistook the reporting for a Hollywood block-buster, an indication that there was some kind of relationship between 9/11 and Hollywood film-making. This thesis contends that films produced in 9/11’s wake were influenced by the attacks and the response that followed, particularly as they demonstrate either an endorsement or challenge to the Bush Administration, and thus can be interpreted politically. This thesis makes specific reference to a number of key issues that demonstrate how Hollywood dealt with 9/11. Firstly, the industry found itself unsure what films were suitable for release in the new context of victimhood; it co-operated with government officials to help in the post-9/11 effort, while many individuals responded to the emergency with fund-raising and other activities. The issue of how Hollywood narrativised the emotional and psychological consequences of the attacks is also addressed with particular focus on how film can act as a memorial. A key feature of both post-9/11 culture and cinema is a fresh apprehension of the real. In this thesis, the issue of ‘the real’ is studied in two distinct areas: realist aesthetics in fiction film, and how the choice of a particular realism has a particular ideological significance; and the growth of the documentary feature film. If Hollywood’s attention to realist aesthetics meets a certain need for facts and knowledge in a period of crisis, then the desire to ‘understand’ is also addressed by genre’s treatment of American myth. In the case of post-9/11, focus on the Western demonstrates how the issues of ‘strong’ masculinity and ‘Otherness’ of race, are dealt with by Hollywood. One of the prevailing myths surrounding the official 9/11 story is that the latent heroism of the ordinary American citizen was revealed. Here, post-9/11 heroism is analysed with reference to the numerous films based on comic-books, specifically those featuring superheroes that expose particular psychological phenomena peculiar to post-9/11 America. Finally, the concept of the global nature of 9/11 with reference to how Hollywood deals with American catastrophe in a global context, how an American event is represented by non-American film-makers, and how global events are represented by non-American film-makers but viewed through the paradigm of 9/11 is discussed. This thesis, then, studies the political and ideological functions and implications of American film after 9/11 through discourses of ‘the real’ and key issues of self-censorship, co-operation, victimhood, masculinity, race, repression, trauma, and heroism

Digital Embodiment in Contemporary Abstract Painting

This thesis re-investigates Clement Greenberg’s discredited abstract expressionist claim that painting should seek its own purity through the acknowledgment of its material. I argue that Greenberg’s physical, bodily determination of painting (but not its purity) is re-located as a criticality in contemporary practice because of the changes brought about by the simulacrum and the digital. By utilizing the particularities of ‘painterly’ issues such as materiality, depth and opticality into the virtual, this claim responds to Arthur C. Danto’s ‘end of history’ theories where he argues that artists are no longer bound to the dictates of grand master narratives of art. For Danto, contemporary art has irrevocably deviated from the narrative discourses which define it such as Greenberg’s. Not satisfied with either postmodern strategies of parody in painting that claim a linear end to the modernist canon, or with recent claims that contemporary painting is beyond postmodernism, I convert Greenberg’s physical determinism using Andrew Benjamin’s notion that contemporary abstract painters, through making, accept and transform the historical/modernist premise of the yet-to-be-resolved object/painting by staging a repetition of abstraction as an event of becoming. This ‘re-styling’ of abstract painting is then examined as an ontological conjoining of Greenberg with Merleau-Ponty’s claim that the painter transforms the relationship between the body and a painting by overlapping the interior sense of self with the world of external objects. I argue that contemporary painting can offer a philosophical dialogue between the painter’s subjectivity as a mirroring of the painter’s personal style through objective ornamental materiality. This dialogue is developed through Stephen Perrella’s Hypersurface theory which proposes a non-subjective, deterritorialised, architectural parallel of the digital as a transparent, fluid system of multi-dimensional signs in which the contemporary subject traverses. Consequently, I suggest, the symbolic virtual changes the body’s sensuous relation to time and space and is central to contemporary painting’s criticality

Negotiating ludic normativity in Facebook meme pages

Title: Negotiating ludic normativity in Facebook meme pages Author: Ondřej Procházka Affiliation: Department of Culture Studies, Tilburg School of Humanities and Digital Sciences This thesis explores the capacity of Internet memes to inflect social realities in the communities organized around them on social media, particularly Facebook. Memes are not mere playful ‘jokes’ or ‘parodies’ spreading virally on the Internet in countless variations, they are also powerful tools for political investment aimed to sway public attention and opinions. Memes have been increasingly documented as a vital component in the unprecedented spread and ‘normalization’ of hateful sentiments and ideologies characterized by ‘fake news’ and ‘post-truth’ politics appealing to emotions rather than ‘facts’ in the digital mainstream. Based on author’s more than five-year observation of communities around Countryball memes, this work argues that much of the socio-cultural and communicative dynamics involving memes can be understood in terms of ludic play. The object of the study – Countryballs memes – are simple meme-comics featuring ball-shaped creatures in colors denoting nation-states while satirically reinventing international ‘drama’ through the prism of socio-cultural and linguistic stereotypes. Having become a household name among memes, Countryballs offer communicative resources to playfully engage not only with wider socio-political issues, but also to with the linguistic, semiotic and ideological boundaries of our communicative norms shaped by the affordances of social media. The present work demonstrates how play can be used as a useful concept for understanding not only how matters of public attention are packed, framed and transmitted in the digital culture via (Countryball) memes, but more importantly how such matters are in fact interpreted by those who engage with them. More specifically, it shows how play enables alternative modes of expression and meaning making with different normative patterns and preferences which stand outside ‘standard’, ‘rational’ or ‘civil’ expectations. And it is precisely ludic play that fosters different types of communication and sociality which are often done ‘just for fun’, however serious or offensive their effects may be. To identify these effects and their implications in the contemporary digital age, the thesis employs a discourse-analytical methodology informed by current advances in digital ethnography and sociolinguistics. It focuses on negotiations among participants in memetic communities about what counts as ‘appropriate’, ‘acceptable’ or ‘correct’ in their socio-communicative behavior. Together in four case studies, the present work provides a comprehensive account of how participants articulate, police, break and re-construct ludic normativity in connection with recent socio-political issues and digital culture at large. This includes the role of memes in the newly emerging forms of communication, in the rise of populism and nationalism, algorithmic manipulation and exploitation, curating digital content and more. The concept of play is continually revisited throughout the discussion against the developments in the scholarship on Internet memes and their ludic genealogy. In doing so, the thesis also revisits some of the traditional concepts such as the notion of ‘community’ and ‘communicative competence’ to arrive at more precise accounts of the concrete processes of globalization and digitalization in our societies and their effects

Reading Mediated Identities: Auto/biographical Agency in the Material Book, Museum Space, Social Media Platforms, and Archives

Ph.D